Dear Editor,
It was my intention to have an exhibition of work in the Castellani House Gallery based on what is in the National Collection. I followed the established protocol and contacted the Curator Ohene Koama. Lo and behold I was told that Minister of Culture Ramson was now the person to approach, no catalogue would be printed and no refreshments served.
I was stunned into silence of the kind where you could hear your heartbeat. My response was that on no account would I do such a thing. What followed after was to begin thinking how such a thing could ever have taken place.
Denis Williams was appointed Director of Art in 1975 and one of his first important acts was to seek permission to use Castellani House, the Residence of the late former President Forbes Burnham (who had his own private collection) in order to house works which had been bought by the National History and Arts Council (NHAC) in existence since 1963 under Lynette Dolphin. Works were kept at the NHAC and others on loan to Government Offices. The space on the first floor was made available for National competitions, group and solo exhibitions. Williams had appointed Everly Austin, who had a background in Art, was a trained ceramist, and producer of exceptional work, as the first Curator of the Gallery. Elfrieda Bissember was the next Curator. She had studied Art History in the UK. Following the established protocol the world over, the Curator is the person who gives permission based on personal knowledge of Art and Art History particularly of their country. They also have to know how to assess the quality of work for group and solo shows. I am not aware of Ramson possessing those qualifications.
Williams as Director of Art was aware of his responsibilities and never intervened in the daily administration of Castellani House as did all the Ministers, from Martin Carter onwards, until the arrival of Ramson, who usurped the role of the Curator. He obviously has no background in Art to do such a thing, only seeing his position as an opportunity for a misuse of power, revealing a show of ignorance and arrogance by dictating there would be neither catalogue nor refreshments at openings. This would be like a restaurant without a menu. Catalogues are important historical records providing data on artists and their work. Artists planning to have a show have two available options, seek permission from Ramson or demand the restoration of the Curatorship to Ohene. There is no large Artists Association so the latter choice was not possible. It is left to individuals to choose what to do. Artists indicate their presence by having exhibitions as writers publish books and musicians have shows or concerts. My decision is not to have a show, by refusing to endorse Ramson’s dictatorial removal of Ohene’s official position as Curator of exhibitions, along with his recent abusive behaviour towards Thom, the Head of the Burrowes School of Art.
Ramson has not shown any indication of paying attention to what is the most important matter before him. This is providing a safe fireproof building to house what is one of the finest National Collections of Art in the Caribbean. Nowhere else can you see work of quality by Indigenous Artists in Painting, Sculpture, Ceramics and Balata in particular. I personally have visited Cuba, Jamaica, Santo Domingo and Barbados and am also well aware of the contents of our National Collection. The range of work in different media is unprecedented save in Brazil where many Invaluable irreplaceable works by the Indigenous were destroyed by fire a while ago. Georgetown has an unfortunate and unenviable history of the destruction caused by fires affecting wooden buildings. Jamaica decades ago changed from a wooden building to an impressive concrete structure for their National Collection. Castellani House, home of our National Collection, is an old wooden building in constant need of repairs. When Wiliams placed the Collection there I suggested that Inspector Spellen, Commander of the Fire Brigade, inspect the building to set up fire control centres and train the staff. This was done. I also advised Ohene to store as much of the Collection as possible in concrete garages in the compound. To this end I contacted Mervyn Awon, the Trinidadian architect who had designed the prototype buildings for South Ruimveldt Gardens and Park, to design racks to hold the works. Apart from a new building to house the National Collection, Ramson could have also looked into removing the import tax on art materials to assist both Artists and Teachers in their work. I usually go to pay my respects to new Ministers of Culture. No such thing will or could ever happen with Ramson. Neither my shadow nor footsteps will grace his presence. It was during a visit once to Frank Anthony, a former Minister of Culture that I was asked to help with projects including information about requirements for a new protective National Gallery which was of major concern to him. A copy of my suggestions was presented to him. The original is still in my possession.
After the intervention of Jagdeo to save face for the PPP/C Government, Ramson lacked (and lacks) both the courage, grace and sense of decency to offer an apology to Thom. He is a poor representative of the present Government and should resign to save it more embarrassment. Final word about Ramson based on further observations of the incident involving Thom, the Head of the Burrowes School of art. After reviewing carefully what took place I am of the opinion that the situation involving Thom was a set up.
A. Why did the man and his woman friend arrive to park in the driveway of the School preventing Thom from leaving? B. Why did the woman take photographs of Thom and his car while he was being abused, trying to protect the privacy of the grounds of the School? Does the School not have a security guard? C. Why did she immediately phone Ramson directly? D. Why did Ramson demand twice for Thom to report to him immediately instead of referring to the Police to investigate the incident? E. Why were the man and woman not invited so that Ramson could listen to both accounts? F. Why refuse to listen to Thom and subject him to abuse? G. Thom’s statement that his contract was nearly due finally caught my attention for a while. If he had to resign, which he quite rightly did, it meant that Ramson would be under no obligation to satisfy the customary legal terms attached to the completion of contracts. The sequential unfolding of events in such a short space of time means I will continue to hold the opinion that what took place was orchestrated.
In conclusion I hope that future Ministers of Culture will act more like those in the past and throw Ramson’s execrable, inexcusable conduct unbefitting a Minister into its proper location. I would also suggest that the New Minister should immediately reinstate Ohene as Curator of Exhibitions and reinstitute the Castellani House Committee which in the past has been very supportive at all levels relating to the Administration of Castellani House. Past members included a government representative, lawyers, the business community, artists, writers and Head of the Burrowes School. Finally, I have years ahead for my final exhibition dead or alive to take place. I gone.
Yours faithfully,
Stanley Greaves